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“Dear friend, you’re the only friend that I’ve had ever/Pretend that life is gonna last forever,” croons Emily Frembgen on “Chateau Marmont” from her debut self-titled EP. Frembgen describes her tunes as “young girl blues,” which suits her style and sound well. The songs are a mix among the sweet pop of Mirah, the melancholic folk of Elliott Smith, and the whimpering indie rock of Bright Eyes.
This album features youthful melodies, often solely backed by acoustic guitar strums. Fellow musician Jason Horodyski is the only other contributor to the recordings, playing guitar and sometimes providing backup vocals.
Four tracks consist of short, simple diddies, which often carry a bittersweet air. Serious, sometimes somber songwriting is looped through repetitive melodies that catch your ear quickly.
The second track is a surprising cover of Kanye West’s “Street Lights.” The lyrics translate well into the folk interpretation, but Frembgen’s version has significantly less momentum and comes across as hopeless and dreary.
“Chateau Marmont” is the most forceful with its sentimental lyrics, catchy melody, and spirited, emphatic guitar. Frembgen is also a member of the ethereal rock band The Language of Termites, whose version of “Chateau” is more dramatic via its strong electric nature. The acoustic version is appropriately soft and affectionate. The naïve quality of her voice suits this sentimental ballad.
Frembgen’s voice floats through her songs with gentle anxiety and tender dreaminess. Horodyski lends his baritone to “Waiting for Someone,” a nice complement to the feminine lead.
This short, rhythmic number is a story in verse: “So I’m here at the station with hands that shake/Do you really love me or are you a fake/Your eyes are faithful but your timing’s wrong/And I know very well I’m being strung along.”
Yet, Frembgen’s immature pipes seem sometimes misplaced in their juxtaposition with the often-mature subject matter. In truth, the self-produced album is sorely lacking percussion and punch.
But her compositions are driven by heartfelt songwriting and honeyed vocalizations, and Frembgen’s music cradles a promise for lovely creations to come.
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